Networked Music and SoundArt Timeline : a panoramic view of practices related to sound transmission and distance

This timeline aims to provide an overview of the principal events and projects in the realm of networked music and networked sonic performance since the beginning of the XX° century. The objective of this project is to reveal or uncover links between disciplines often considered separately such as art/music, technological development, social shifts, anticipationary visions & proleptic statements. This will in turn provide a clearer vision of the very recent history of soundart and music in todays networked technological environment. The current iteration was in launched 2008 within the context of the Locus Sonus research lab one of whichs vocations is to provide a corpus of information for documentary and critical use available to researchers, artistes and the arteducation community in general. It is nourished by parallel research, developed in recent years within Locus Sonus, concerning remote sound recording and playback, live audio streaming, and ‘geotagged’ sound projects.

Jérôme Joy is a composer and networks artist who has been teaching since 1992 at the National School of Arts, Villa Arson Nice and since 2004 as research director with Peter Sinclair of the research group Locus Sonus - Audio in Art. Having delivered multiple performances of both instrumental and electro-acoustic music since the early 1980s, he has devised numerous international networked projects and collectives (in music, sound and net) since 1995. His interests encompass the vast realm of sound composition, alighting upon and inspired by electronic production, programming technologies, networked systems, shared databases and the interplay and local gaps of narration into our daily life and social contexts. He's continuously working on various projects : Sobralasolas !, nocinema, picNIC, Collective JukeBox, etc.

• Talk Part 1: Current state of Digital Media, Culture Lab, Newcastle University
In first part of my talk, I would like to talk about our current state of Digital Media, Culture Lab, Newcastle University. We presents our latest projects, we-create, Dry Run, and Chiptune Music Band. I also briefly refer to our current PhD Research lead by students.

• Talk Part 2: The Music One Participates: From Practices of The SINE WAVE ORCHESTRA
In second part of my talk, I would like to talk about my idea of the music one participates based on our continuous practices of a participatory sound performance project "The SINE WAVE ORCHESTRA". This talk is based on a recent published paper ^[Jo et al, 2008^].

Kazuhiro Jo is a Japanese sound artist and researcher with background in acoustic design and in interaction design educated at Kyushu Institute of Design and the University of Tokyo. He is currently working as a Research Fellow at Digital Media, Culture Lab, Newcastle University. He is also a member of a participatory sound performance project The SINE WAVE ORCHESTRA, an image sound processing software platform Monalisa, an auditory design performance project AEO, and a co-organizer of dorkbot Tokyo. He has been awarded grants and support from Prix Ars Electronica, IPA Exploratory Software Project, and Japanese Government Overseas Study Program for Artists.

Famous Australian artist Stelarc has said for KIBLA "this is the best cyber space in the world", the great Eduardo Kac, who works at the Art Institute of Chicago, "something like this doesn't exist in United States" and Joseph Tabby, university professor and writer, "I came to visit Slovenia, because I've heard about KIBLA". A title in Slovenian magazine Mladina: "To Maribor, because of KIBLA!" and in NeDelo (the biggest Slovenian newspaper, Sunday issue) Eda ufer wrote: "Maribor Kibla is by its space possibilities and its conceptual structure, that combines gallery, spaces for performance, specialised bookshop and cyber café undoubtedly the most exemplary project of a kind".
KIBLA Multimedia Center is the first presentation and production institution in Slovenia dealing with multimedia and intermedia art and a yearlong cultural programme. We still incorporate pure classical media but in a different context – we use them to support historical continuity of visual art and a bigger aesthetization and integration of electronic media. We support principles that lead to complex systems of multimedia presentation. We also produce and co-produce cultural artistic projects and publish presentation materials. KIBLA comprises artist studios, screening and exhibition spaces.

Peter Tomaz Dobrila is a musician and an electronic and IT engineer who focuses on the creative use of the new technologies. In 1996 he co-founded the Multimedia Center KiberSRCeLab – KIBLA (MMC KIBLA), Maribor. Two years later he co-founded the Association for Culture and Education KIBLA (ACE KIBLA) and became its president. He managed MMC KIBLA and ACE KIBLA until 2004. Since then he has participated in numerous congresses and conventions on internet and multimedia and information culture. He acts as consultant and advisor in cultural matters and is a fellow of the European Academy for Digital Media (EADIM).

When working in a collaboration, with a group, we have the potential
to harness the collective intelligence of the group. This is best
exemplified through the internet and its sprawling, node-based
connections, where everyone is a specialist on at least one thing.
Technology allows us to leverage these connections for realtime
information exchange. With an increase in affordable portable
computing technology (smart phones, embedded devices, etc.), we can
become aware of our environments, and broadcast information about our
location, in an immediate and real way. These devices also generate
information and data that we never consciously use, but are still a
valid set of data points. Through identifying and interpreting
patterns in data streams obtained from a number of localized devices,
we can construct a detail-rich portrait of an environment that we can
examine from a number of different perspectives.

Scott Fitzgerald is an artist, educator and technologist, currently member of the Locus Sonus Lab. He builds tools for himself and others to express themselves in unique and idiosyncratic fashions. He holds a Masters degree from New York University's Interactive Telecommunications Program (NYU ITP), and has a variety of previous experiences as a social worker, documentary filmmaker, and radio DJ.
At NYU, Scott has taught Physical Computing, Video for New Media, and Expanding Interactive Video for the last several years, working with students to expand their interactions with machines, and explore the boundaries of video installation and performance.

The presentation will refer to research conducted in the context of the Comedia EU Culture 2007 project at the Sonic Arts Research Centre. Notions of network dramaturgy are explored with a view to develop an understanding of the types of performative engagement in the network. This paper addresses challenges and opportunities posed by the design and production of network performance from the point of view of collaborative creative work. It does so by examining strategies that, while referring to the network as a new medium for performance, make use of concepts from dramaturgy to better understand the relationships between artists, audiences and media. The author characterises three distinct models for dramaturgy, particularly from the point of view of collaboration, authorship, presence and environment. Pedro will draw on examples from the performances of Disparate Bodies and Netrooms in order to illustrate current practice that addresses network dramaturgy.

• Netrooms : a long feedback

Netrooms: The Long Feedback is a participative network piece which invites the public to contribute to an extended feedback loop and delay line across the internet. The work explores the juxtaposition of multiple spaces as the acoustic, the social and the personal environment becomes permanently networked. The performance consists of live manipulation of multiple real-time streams from different locations which receive a common sound source. Netrooms celebrates the private acoustic environment as defined by the space between one audio input (microphone) and output (loudspeaker). The performance of the piece consists of live mixing a feedback loop with the signals from each stream.

Pedro Rebelo is a composer/digital artist working in electroacoustic music, digital media and installation. His approach to music making is informed by the use of improvisation and interdisciplinary structures. He has been involved in several collaborative projects with visual artists and has created a large body of work exploring the relationships between architecture and music in creating interactive performance and installation environments. This includes a series of commissioned pieces for soloists and live-electronics which take as a basis the interpretation of specific acoustic spaces.
In the duo laut with saxophonist Franziska Schroeder he investigates the extension of interfaces and control in interactive performance practices. His electroacoustic music is featured in various CD sets (Sonic Circuits IV, Discontact III, Exploratory Music from Portugal, ARiADA). His work as an improvisor has been released by Creative Source Recordings. Pedro conducts research in the field of digital media, interactive sound and composition.
His writings reflect his approach to design and composition by articulating creative practice in a wider understanding of cultural theory. Pedro was Visiting Professor at Stanford University (2007) and the Music Chair for the 2008 International Computer Music Conference. He has been Director of Research at the Sonic Arts Research Centre and is now Director of Education at the School of Music and Sonic Arts, Queen’s University Belfast.

Areas of research:
Urban sociology, micro sociology of public space, in particular:
- Physical space, social space: the "sense of place"
- Territories and democracy
- Public dimensions of new ITC and their usages
- Artistic engagement and the construction of publics.

Laboratoire Cresson :
Group of enactivists working at the Cresson Lab, they aim at putting into context interdisciplinary questioning at the crossroad of architecture, social studies and engineering sciences. The concept of 'ambiance' (atmosphere) leads at once to physical and cultural phenomena. They uses it as a basic tool to make in situ experiments in order to question the interactions and the inter-relationships that a place and its caracteristics maintains with perception and public imagery.

Generally speaking LS is concerned with the innovative & transdisciplinary nature of audio art. We explore these areas in a group context, within which we aim to evaluate the groups own projects & realizations, however we also have a tendency to provide openings for other artists & researchers. An important aspect of our research centers on the exploration of multi user systems and requires by definition collective collaboration. Our research is englobed by two main themes - audio in it's relation to space and networked audio.
Locus Sonus decided along with the art and technology department at SAIC, to create a multi user virtual world based on the second life model, but entirely dedicated to audio experimentation.
Like Second Life or many online video games each user or visiter will download an application which will render the world locally on their computer. Each copy of the world is linked to a server so each user can perceive the actions of other users online. The principal difference between the proposed world and second life is that it will incorporate relatively sophisticated audio processing possibilities and that the navigation, architecture & esthetics are to be thought out primarily to enhance the listening experience.

Peter Sinclair is a digital media and sound artist. He is tenured professor at Ecole Superieure d'Art d'Aix-en-Provence where he has been responsible for the sound department since 1996. He is also currently a member of the scientific council for research and studies at the DAP (fine arts department) of the French Ministry for Culture and research co-director with Jérôme Joy of Locus Sonus lab audio in art, which is a collaboration between two Schools of Arts, ESA Aix-en-P and ENSA Nice Villa Arson, and the sociology laboratory LAMES CNRS-MMSH. Peter Sinclair is known for his sound installations and other cross-disciplinary works which use sound as their principal medium. Excited by technology but handling it with critical irony, his work has moved from burlesque mechanics, through the misuse of computers to performance that parodies modern media language in transatlantic streamed-collaborations. Aside from his personal artistic productions Peter Sinclair participates in various collectives as "PacJap" and "Daisy Chain" and he has been working with New-York based artist GH Hovagymian since 1996.

The Buddha advised the impatient Malunkyaputta to experience the world without representation: "In reference to the seen, there will be only the seen. In reference to the heard, only the heard. In reference to the sensed, only the sensed. In reference to the cognised, only the cognised". My talk will conduct a brief reconnaissance of the physics of sound and the physiology of the ear before embarking on a exploration of the possibilities of representing the complexities of the heard world.

Angus Carlyle is a Reader in Sound Arts Practice at the University of the Arts, London and is Co-Director of CRiSAP (Creative Research into Sound Arts Practice).
In general terms, Angus' work explores the intersections between culture, technology and creativity. More specifically, he is interested in how our constructed "landscape" modulates a sense of the relationship between human beings and the environment.

He has lectured at various institutions in Europe, was a judge on the 2001 Economist magazine writing competition and on the 2002 backup digital arts festival in Germany. He wrote an article to accompany the CD that won the Prix Europa for Radio Art in 2003 and a chapter in a book that was awarded the 2003 Thames and Hudson Art Book of the Year. He was an editor for the European fashion magazine, themepark and has written for the Institute for Contemporary Art, The Wire, Black Dog Press, Hotshoe International, Eyemazing and Creation Books amongst others.

Angus' creative practice has principally involved the use and abuse of field recordings. Work in this vein has been played on Resonance 104.4 FM, on Collective JukeBox, on Radio Taxi, at the DCA Gallery in Tucson Arizona, the Zeppelin festival in Barcelona, the Los Angeles Contemporary Exhibitions (LACE) gallery, the Le Placard International Festival, the Port Elliot Literary Festival, in the High Desert Test Sites in Joshua Tree Valley and on the M25 motorway. He has recently begun working in two other directions: with found sound material and with using industrial signage as a vehicle for "silent" sound art. His work has recently appeared on the following compilations: Acoustic Tribute to Bear Bruno (Gruenrekorder), Bend It Like Beckett (Asphasia) and Signal (Finetuned).
He is the editor of Autumn Leaves: Sound and the Environment in Artistic Practice (Double Entendre) and is currently finishing a book on the art/pop band, The KLF.